伊拉里亞·詹內(nèi)蒂/Ilaria Giannetti

朱琳 譯/Translated by ZHU Lin

記憶與再生

欄目主持：阿爾伯托·博洛尼亞，米凱利·博尼諾，皮埃爾-阿蘭·克羅賽特

建構(gòu)在當(dāng)代建筑設(shè)計文化中的實現(xiàn)

當(dāng)代設(shè)計文化將“建構(gòu)”這一術(shù)語認(rèn)定為裝配的藝術(shù)。對一個建筑項目進行批判性分析，或者在方法論層面上對其建造方面的設(shè)定進行分析，是一種沒有地域界限的古老實踐，它的理論源流來自于19世紀(jì)戈特弗里德·森佩爾的思想。森佩爾的思想和務(wù)實的操作方法作為定義建筑理論的基礎(chǔ)，在過去的兩個世紀(jì)里獲得了巨大的贊譽；以此作為起點，肯尼斯·弗蘭姆普敦衍生出了他在《建構(gòu)文化研究》中的批判和敘事路徑——2007年王俊陽的譯作使得該書在中國也得到了研究。正如意大利建筑師奇諾·祖奇2016年在米蘭文化博物館策劃的主題為“Semperingi：建筑與設(shè)計中的過程與模式”的展覽中所展示的，這種建筑設(shè)計方法的話題性可以概括為8個主要類別——堆疊、編織、折疊、連接、模壓、吹塑、雕刻和鋪貼：它們對應(yīng)著盡可能多的源自建構(gòu)操作的實用性設(shè)計意圖，這些意圖對今天的設(shè)計文化有直接影響，并在構(gòu)成和裝飾術(shù)語中被多樣地應(yīng)用。

因此，它是一種對專業(yè)實踐有很大影響的理論構(gòu)想，即使是當(dāng)其作用于既有的建筑物時：在開始改造項目之前，對建筑物的分析和認(rèn)知的過程始于其建造方面的決定性特征——這成為一個重要的準(zhǔn)備步驟，由此得以有意識地做出與既有建筑物的物質(zhì)性本質(zhì)一致的設(shè)計選擇。通過這種方式，建構(gòu)所決定的原則可以在建筑尺度上傳遞那些標(biāo)志著建筑的記憶和再生的設(shè)計實例。

這里介紹的瑞恩波特建筑事務(wù)所的作品與這一設(shè)計研究路線是一致的：通過對原有建筑結(jié)構(gòu)特征的識別，使得新建筑群得以在功能和建筑上再生。通過這種方式，原有的承重結(jié)構(gòu)得到了升華，成為真正的空間裝置并提升了新圖書館中一些重要房間的建筑品質(zhì)。這種對建造問題的敏感性主導(dǎo)了這一改造項目，在這里，空間和裝飾的品質(zhì)通過新的或原有的結(jié)構(gòu)構(gòu)件和表面裝飾材料之間的相互作用而成就。組裝式的建構(gòu)過程也催生了新立面的裝飾構(gòu)件，同時其組裝感也通過給森佩爾體系中的“鋪貼”增加表面鍍層而得到削弱。

因此，這是一種被稱為中歐的“建筑文化”（Baukultur）ii中特有的建筑設(shè)計方法，它顯示了旨在突出建筑的構(gòu)造特征以產(chǎn)生構(gòu)成和空間質(zhì)量的設(shè)計機制的巨大相關(guān)性。

這些原則也適用于現(xiàn)有建筑復(fù)雜的功能再生過程——由于對其物質(zhì)本質(zhì)價值的認(rèn)可，這些過程顯示出其本身是隨著時間推移而延續(xù)集體記憶的載體，烏特勒支老郵局的案例就證明了這一點。（阿爾貝托·博洛尼亞）

譯注/Notes from Translator

i 讀音/z"εmp?r??/，英文動詞“semper”的現(xiàn)在進行時。在建筑和設(shè)計中，指對材料或部件進行的建設(shè)性操作，在最終產(chǎn)品上留下有意義的形式痕跡。是來自建筑師戈特弗里德·森佩爾（Gottfried Semper，1803-1879）姓氏的新詞。

ii 建筑文化（Baukultur）描述了人類在改變自然或建筑環(huán)境方面的成就總和。與建筑學(xué)（建筑藝術(shù)）不同的是，建筑文化包括建筑環(huán)境的所有要素；建筑文化遠(yuǎn)遠(yuǎn)超出了單個建筑的建造和設(shè)計，還包括諸如城市發(fā)展和地方規(guī)劃，工程師對交通結(jié)構(gòu)的設(shè)計，特別是建筑藝術(shù)和公共空間的藝術(shù)。作為一個延伸的文化概念，建筑文化通常以一個國家或地區(qū)的歷史和傳統(tǒng)為基礎(chǔ)。

2011年，位于諾伊德廣場上的烏特勒支中央郵局在服務(wù)了近一個世紀(jì)后，向公眾關(guān)閉。這座由建筑師約瑟夫·克勞威爾（1885-1962）在1919-1924年間設(shè)計和建造的建筑被認(rèn)為是城市公共生活的象征，在2001年被命名為國家紀(jì)念碑[1]。2008年，荷蘭瑞恩波特建筑事務(wù)所接受委托完成了該建筑的再開發(fā)項目，其中包括將其改造成一個帶有商店、餐館和自行車停車場的公共圖書館1）。室內(nèi)設(shè)計由Zecc建筑事務(wù)所負(fù)責(zé)[2]。建筑師們接受了挑戰(zhàn)并宣稱他們要將該建筑改造成 “城市的客廳”（huiskamer voor de stad）[3]。

受阿姆斯特丹學(xué)派的影響，克勞威爾項目的核心是可從諾伊德廣場進入的郵局的公共接待大廳，以宏偉的拋物線型拱形天花板（長30m×高18m，跨度16m）為主要特色。天花由黃釉磚覆蓋的拱券和窗戶交替構(gòu)成，并嵌有堅固的雕塑鐵藝裝飾，由雕塑家亨德里克·范登艾金德（1869-1939）制作，靈感來自埃及和亞述藝術(shù)。大廳周圍是公眾無法進入的約8000m2的辦公區(qū)。此外，克勞威爾建筑群還設(shè)有一個物流區(qū)作為郵件分揀和轉(zhuǎn)運的出口，它位于歷史悠久的老運河上，如今運河已成為歷史悠久的市中心的一個組成部分，因此不再適合發(fā)揮這一技術(shù)功能。

再開發(fā)項目著重于優(yōu)化從諾伊德廣場進入的大型拱頂大廳，并將大型辦公區(qū)改造為向公眾開放的新空間。為了滿足功能需求，還需要在俯瞰運河的老物流區(qū)增加一棟包含禮堂和一系列商業(yè)服務(wù)設(shè)施的新建筑：通過這種方式，位于老運河的建筑前端參與進運河城市區(qū)域的歷史文化更新，將其與諾伊德廣場街區(qū)連接起來（圖1）。

2020年3月14日，改造后的建筑群落成，其特點是老建筑的外觀和材料與新功能的明顯融合。

克勞威爾大樓的特點是采用了先鋒的鋼筋混凝土結(jié)構(gòu)，同時，在辦公區(qū)的地板和柱子上采用了當(dāng)時已獲得專利的“標(biāo)準(zhǔn)化”施工方案，在中央大廳采用了大膽的拋物線拱券，并在細(xì)節(jié)上與木質(zhì)屋頂桁架系統(tǒng)進行了整合。公共接待大廳中的拱券用黃色釉面磚覆蓋并以單獨的裝飾方案進行點綴，因此鋼筋混凝土的使用完全被隱藏起來，但在辦公室樓板中卻可以看到它們的痕跡。即使是建筑兩翼閣樓中帶有木桁架的屋頂結(jié)構(gòu)，在原項目中也大部分被隱藏起來。

1 從諾伊德廣場觀看烏特勒支中央圖書館外景，2020年7月/Utrecht Central Library, exterior view from the Neude, July 2020

在再開發(fā)項目所做的選擇中，對原有建筑的承重結(jié)構(gòu)的形態(tài)和形象的思考，正如我們前面已經(jīng)提到的，通過兩個互補的方法發(fā)揮了核心作用。第一種方法是根據(jù)原有建筑支撐結(jié)構(gòu)的形態(tài)來定義綜合體新空間的功能；第二種方法則是根據(jù)新空間的空間感和表現(xiàn)力概念，采取具體的干預(yù)措施，旨在強調(diào)承重結(jié)構(gòu)的外觀，例如，使原來隱藏的部分顯露出來。

按照第一種方法，公共大廳拋物線拱券的大跨度將這一空間轉(zhuǎn)變?yōu)樾碌摹坝许攺V場”（圖2），通過將建筑的所有通道移入相鄰的兩個側(cè)翼，它被用作從諾伊德廣場進入的接待區(qū)（圖3、4）。同樣，位于上層的新閱覽室的設(shè)計也延續(xù)了原有木桁架的跨度，通過插入一系列新的窗戶來強調(diào)它，既為這些空間提供了必要的自然采光，又在建筑內(nèi)部與周圍城市環(huán)境之間建立了新的視覺聯(lián)系，促進了建筑與城市的融合。

按照第二種方法，閱覽室中許多原本隱藏在克勞威爾設(shè)計中的桁架部分被暴露出來，從而將這些環(huán)境的空間表現(xiàn)力與承重結(jié)構(gòu)的形象聯(lián)系起來 （圖5）。這種操作格外重視原有設(shè)計的記憶，因此沒有粉刷原本隱藏的桁架部分。鋼筋混凝土結(jié)構(gòu)獨特的構(gòu)造細(xì)節(jié)也以同樣的方式處理，柱子和梁之間的連接在改造項目中被揭示并完全暴露出來，成為位于三層的閱覽室空間概念的一個組成部分（圖6）。

該項目同時包含了新的建筑主體的設(shè)計。之所以需要建造新的建筑主體，是因為在巨大的穹頂大廳中布置像禮堂這樣的龐大體量是不堪設(shè)想的。因此，該建筑的新體量位于原物流區(qū)，面向老運河，為運河城區(qū)的再開發(fā)做出了貢獻。

類似于對原有建筑所進行的操作，對克勞威爾建筑特有的構(gòu)造原理的反思在擴建項目中也發(fā)揮了核心作用：與公共接待大廳中鋼筋混凝土結(jié)構(gòu)被充滿時代感的釉面磚表皮完全掩蓋所呈現(xiàn)的結(jié)構(gòu)概念相類似，新建筑中承重結(jié)構(gòu)的物質(zhì)性與表皮分離，于是成為整個建筑最富有表現(xiàn)力的部分。新建筑體量的特點是由木材和鋼鐵組成的混合承重框架，在此基礎(chǔ)上疊加立面（圖7）。其木結(jié)構(gòu)以由預(yù)制混凝土和深色釉面瓷磚組成的鉸接式裝飾支架為特色，在運河一側(cè)的整個建筑群的外觀中占據(jù)核心地位。外立面有著由釉面瓷磚和玻璃幕墻交替組成的波紋元素，坐落在由7個玻璃門洞組成的白色基座上，門洞的框架由成對的壁柱和條狀過梁組成。

因此，建筑的施工階段結(jié)合了兩種定制設(shè)計的施工方案。基座的門洞采用預(yù)制的白色混凝土構(gòu)件，而上層的擴建部分則采用了特殊的釉面瓷磚，由曾在100年前為原建筑制作瓷磚的皇家馬肯陶瓷公司生產(chǎn)。在這個操作中，對陶瓷磚的形式和組裝的研究受到了特別注意：3種類型的瓷磚都是通過在車間里的一系列實體化模型的基礎(chǔ)上推敲3D數(shù)字模型設(shè)計而成的，只有這樣才有可能給立面上的裝飾性波紋定形（圖8）。

作為一個成功地將原有建筑的特點與新的擴建部分結(jié)合起來的案例，這個項目在烏特勒支市中心上演了一場歷史與21世紀(jì)的文化和技術(shù)的融合，從更廣闊的角度證明了嚴(yán)謹(jǐn)?shù)慕?gòu)學(xué)考量作為項目推進的原則，如何成就了一種有價值的城市更新方式（圖7）?！?/p>

Memory and Regeneration

Column Editors: Alberto Bologna, Michele Bonino, Pierre-Alain Croset

The Actuality of Tectonics in Contemporary Architectural Design Culture

Contemporary design culture identifies the term tectonics as the art of assembly. The critical analysis of an architectural project or, on a methodological level, its setting on the basis of construction issues, is an ancient practice with no geographical boundaries, which finds its theoretical roots in the 19th century Gottfried Semper"s thinking. His ideas and pragmatic operational approach have served as the basis for the definition of an architectural theory which has garnered great critical acclaim over the last two centuries, representing the starting point from where Kenneth Frampton derives the critical and narrative path of his "Studies in Tectonic Culture" - studied also in China thanks to the 2007 translation by Wang Junyang. As demonstrated by the Italian architect Cino Zucchi in the exhibition"Sempering. Process and pattern in architecture and design" he curated in 2016 at the MUDEC Museum in Milan, the topicality of this approach to architectural design can be summed up in eightcritical categories - stacking, weaving, folding,connecting, moulding, blowing, engraving and tiling: they correspond to as many pragmatic design intentions derived from tectonic actions, which have a direct bearing on today"s design culture and which see various applications in compositional and ornamental terms.

It is therefore a theoretical construct that has strong repercussions on professional practice, even when working on existing buildings: the process of analysing and knowledge of a building, starting from the constructive issues which characterise it, before to set up the transformation project, it becomes an essential and propaedeutic path to arrive to formulate conscious design choice, coherent with the material essence of the existing building. Thus, the principles dictated by tectonics can potentially transmit, at the architectural scale, those design instances that identify memory and regeneration in architecture.

The work of Rijnboutt Architects presented here is consistent with this design research line: the identification of the existing building"s construction features has allowed the functional and architectural regeneration of the new building complex. In this way, the existing load-bearing structures have beenexalted and promoted to true spatial devices capable of generating the architectural quality of some significant rooms in the new library. This sensibility to construction issues has led to a renovation project in which the spatial and ornamental quality is obtained by the interaction between structural components and surface finishing materials, new or existing. The tectonic process of assembly generates also the ornamental component of the new fa?ade,which thus declines through the surface cladding of the Semperian category of tiling.

It is therefore an approach to architectural design typical of the so-called Central European"Baukultur", which demonstrates the great relevance of design mechanisms aimed to exalt the building"s constructive peculiarities to generate compositional and spatial quality.

These principles are also valid in the case of complex functional regeneration processes of existing architecture which, thanks to the acknowledgement of their material essence"s value, reveal themselves to be the vectors that perpetuate over the time the collective memory, as demonstrated by the case of Utrecht"s former post office. (Alberto Bologna)

In 2011, the main post office of the city of Utrecht,at the Neude square, closed to the public after almost a century of service. The building, designed and built by the architect Joseph Crouwel (1885-1962) between 1919 and 1924 and considered a symbol of the city"s public life, was named a national monument in 2001[1].The redevelopment project of the building, which involves its transformation into a public library with shops, restaurants and a bike parking, was entrusted to the Dutch architectural firm Rijnboutt Architects in 20081）. Zecc Architects dealt with interior design[2]. The architects undertook their task by declaring that they wanted to transform the building into "a living room of the city" (huiskamer voor de stad)[3].

The heart of Crouwel"s project, influenced by the Amsterdam School, was the public reception hall of the Post Office that was accessible from the Neude square, featuring an imposing parabolic vaulted ceiling (30 metres long × 18 metres high and a 16-metre span) consisting of the alternation of arches covered in glazed yellow bricks and windowed areas and having robust sculptural ornamental iron inserts, inspired by Egyptian and Assyrian art and made by the sculptor Hendrik van den Eijnde (1869-1939). Around the hall was about 8000 square metres of offices that the public could not access. Finally, the Crouwel complex housed a logistics area - an exit for mail sorting and forwarding - on the historic Oudegracht canal, which is today an integral part of the historic city centre and, therefore, no longer suitable for this technical function.

The redevelopment project focused on enhancing the large vaulted hall, accessible from the Neude, and on the transformation of the large offices into new spaces open to the public.To incorporate the functional programme, it was also necessary to add a new building at the former logistics area overlooking the canal, that houses the auditorium and a series of new commercial services: in this way, the front of the building on the Oudegracht participates in the historicalcultural regeneration of the urban area of the canal, connecting it to the district of the Neude(Fig. 1).

2 烏特勒支中央圖書館主廳，2020年7月/ Main hall of Utrecht Central Library, July 2020（1.2圖片來源/Source: Courtesy of Rijnboutt Architects, 1.2攝影/Photo: Kees Hummel）

Inaugurated on 14 March 2020, the renovated complex is characterised by the marked integration

3 烏特勒支中央圖書館平面，瑞恩波特建筑事務(wù)所和Zecc建筑事務(wù)/Floor plans of Utrecht Central Library,by Rijnboutt Architects & Zecc Architects（圖片來源/Source:Courtesy of Rijnboutt Architects and Zecc Architects）

4 烏特勒支中央圖書館縱剖面，瑞恩波特建筑事務(wù)所和Zecc建筑事務(wù)所/Longitudinal section of Utrecht Central Library,by Rijnboutt Architects & Zecc Architects（圖片來源/Source:Courtesy of Rijnboutt Architects）

5.6 烏特勒支中央圖書館閱覽室，2020年7月/Reading rooms of Utrecht Central Library, July 2020（圖片來源/Source:Courtesy of Rijnboutt Architects, 攝影/Photo: Kees Hummel）

注釋/Note

1）筆者于2020年12月1日采訪了瑞恩波特工作室的建筑師弗雷德里克·維米爾什和建筑師卡里恩·范登布魯克；瑞恩波特建筑事務(wù)所慷慨地分享了本文所發(fā)表的項目文件和圖片。在采訪過程中，我們重點討論了設(shè)計過程中賦予承重結(jié)構(gòu)在新空間的建筑和功能設(shè)計中的表現(xiàn)作用；因此，我們重點討論了新建筑建設(shè)中采用的施工方案，與克勞威爾的建筑所呈現(xiàn)的方案一致。/The author interviewed the architect Frederik Vermeesch and the architect Karianne Vandenbroucke of the Rijnboutt studio on 1 December 2020; Rijnboutt Architects generously shared the project documentation and images published in this text. During the interview we focused on the design process discussing the expressive role assigned to the load-bearing structure in the architectural and functional design of the new spaces;therefore, we focused on the construction solutions that were adopted in the construction of the new building, in line with those present in the Crouwel building.

7 從老運河觀看烏特勒支中央圖書館外景， 2020年4月/Utrecht Central Library, exterior view from the Oudegracht, April 2020（圖片來源/Source: Courtesy of Rijnboutt Architects, 攝影/Photo: Kees Hummel）

8 烏特勒支中央圖書館，由皇家馬肯陶瓷公司設(shè)計的瓷磚車工實物模型，2018年/Utrecht Central Library, mock-up of the ceramic tile carter by Royal Tichelaar, 2018 （圖片來源/Source: Courtesy of Rijnboutt Architects）

The Crouwel building was characterised by a pioneering reinforced concrete structure that, at the same time, had "standard" construction solutions that were patented at the time, for the floors and columns in the offices, daring parabolic arches in the central hall, and original details for its integration with the wooden roof truss systems. The use of reinforced concrete, which was completely hidden in the public reception hall, where the arches are covered in glazed yellow bricks and embellished with the independent ornamental scheme, is however visible in the office floor slabs. Even the roof structure, with the wooden trusses of the lofts of the two wings of the building, was mainly hidden in the original project.

In the choices made in the redevelopment project, the reflection on the morphology and image of the load-bearing structure of the existing building assumed, as we have already mentioned, a central role that developed with two complementary approaches. The first approach involved basing the functional definition of the new spaces of the complex on the morphology of the supporting structure of the existing building. The second approach, on the other hand, involved making specific interventions aimed at emphasising the appearance of the load-bearing structure, for example by bringing to light originally hidden portions, in accordance with the spatial and expressive conception of the new spaces.

Following the first approach, the large spans of the parabolic arches of the public lobby transformed this space into the new "covered square", accessible from the Neude (Fig.2) and used as a reception area, and which was obtained by moving all the passageways of the building into the two adjacent side wings (Fig. 3, 4). In the same way, the design of the new reading rooms, on the upper floors, follows the metric of the spans of the pre-existing wooden trusses, emphasising it through the insertion of a series of new windows that provide both the necessary natural lighting for these spaces as well as a new visual relationship between the interior of the building and the surrounding urban environment,contributing to its integration with the city.

Following the second approach, many portions of the trusses that were originally hidden in Crouwel"s design are exposed in the reading rooms,thus linking the spatial expressiveness of these environments to the image of the load-bearing structure (Fig. 5). This operation paid particular attention to the memory of the original design,with the sections of the originally hidden trusses left unpainted. The unique construction details of the reinforced concrete structure were also treated in the same way, concerning the connection between pillars and beams, being revealed in the redevelopment project and, left completely exposed,becoming an integral part of the spatial concept of the reading rooms located on the 3rd floor (Fig. 6).

An integral part of the programme was the design of the new body of the building. The need to build a new body of the building arose as it was unthinkable to fill up the monumental vaulted hall with voluminous objects like an auditorium. The new volume of the building, therefore, is in the former logistics area, facing the Oudegracht, contributing to the redevelopment of the urban area of the canal.

Like the work done on the existing building,ref lection on the tectonic principles that characterised the Crouwel building played a central role in the extension project: analogously to the structural concept of the public reception hall,in which the reinforced concrete structure was completely hidden by the evocative glazed brick cladding, in the new building, the materiality of the load-bearing structure has been separated from the cladding, to which the architectural expressiveness of the whole was entrusted. The new volume of the building is characterised by a mixed load-bearing frame, in wood and steel (Fig. 7), on which a fa?ade has been superimposed, with a wooden structure characterised by an articulated ornamental carter that, consisting of elements made of prefabricated concrete and dark enamelled ceramic tiles, assumes a central role in the appearance of the entire complex on the canal side. The fa?ade has, on a white base consisting of seven glazed portals framed by paired pilasters and striped architraves, the alternation of corrugated elements, made of enamelled ceramic tiles, and glass panelling.

The construction phase, therefore, combined two custom-designed construction solutions. The portals of the basement are made with prefabricated white concrete elements, while the upper extension makes use of special enamelled ceramic tiles,produced by the Royal Tichelaar company, the same company that had made the tiles of the original building 100 years earlier. In this operation,particular attention was paid to the study of the forms and the assembly of the ceramic tiles: through the development of 3D digital models supported by the realisation of a series of mock-ups (Fig. 8) in the workshop, the three types of tiles were designed in this way, with which it was possible to give shape to the ornamental fold of the fa?ade.

This project, an example of successful integration of the characteristics of the original building and its new extension, staged a cultural and technological fusion between history and the 21st century in the heart of the city of Utrecht, providing in a broader perspective, the testimony to how a rigorous consideration of tectonics as the project driving principle, can constitute a worthwhile way of urban regeneration (Fig. 7).□